Jae Thee Music Promoter

24/05/2026

If "Olimba" doesn't receive major 2026 award nominations, does that mean the song wasn't impactful enough or does it expose a bigger problem in how Zambian music awards measure success?

OLIMBA (feat. Jay Rox) : The Most Underrated Song in Zambia or Just Another Motivational Record?

Three months after its release on January 28, 2026, "Olimba" by Lanzee Cooper featuring Jay Rox remains one of the most interesting conversations in Zambian music. At 3 minutes and 44 seconds long, the record arrived carrying a message of hope, resilience, and self-belief, urging listeners to keep pushing forward despite life's challenges.
The first thing that stands out about "Olimba" is its sincerity.

In an era where much of Zambia's mainstream music is fighting for TikTok trends, dance challenges, and short-term virality, "Olimba" dares to slow things down and speak directly to the listener. It isn't trying to be the loudest song in the room. Instead, it relies on message, emotion, and relatability.

Lanzee Cooper delivers one of his strongest performances to date, sounding focused and purposeful. The production is polished, uplifting, and radio-friendly without becoming predictable. Jay Rox, as expected, adds maturity and credibility, bringing the type of presence that instantly elevates a record.

The chemistry works.
The message works.
The production works.
Yet the biggest question remains:
"Why doesn't it feel like Zambia is talking about this song enough?"

That question leads us to the controversy.
If "Olimba" were released by some of Zambia's bigger commercial names, would it already be a frontrunner for Song of the Year discussions?
Many industry observers would argue yes.

This raises a debate that the Zambian music industry often avoids:

Are award nominations based purely on impact and quality, or are they still heavily influenced by popularity, industry relationships, and existing star power?

"Olimba" has the ingredients typically associated with award-worthy music:
-Strong songwriting
-Positive social message
-Quality production
-Cross-generational appeal
-A respected feature from Jay Rox

Yet it has not dominated national conversations in the same way some commercially driven records have.
Some may argue that motivation songs rarely create enough excitement to compete against club anthems and viral hits.
Others will argue the opposite:
That songs like "Olimba" are exactly what award bodies should be rewarding.

Should "Olimba" Be Nominated in the 2026 Awards Season?
Based on quality alone, there is a serious argument for consideration in categories such as:

-Best Collaboration
-Best Music Video
-Song of the Year
-Most Inspirational Song
-Best Mainstream Single

The controversy comes if nomination lists are released and "Olimba" is absent.
If less impactful records receive nominations while "Olimba" is overlooked, questions will inevitably arise about whether award bodies truly reward excellence or simply reward visibility.

That conversation may make some people uncomfortable, but it is a fair discussion.
"Olimba" is not just another motivational song.

It is one of the strongest examples of purpose-driven Zambian music released in 2026 so far. Three months after release, its message remains relevant, its production remains fresh, and its replay value remains high.
The real controversy is not whether the song is good.
The real controversy is whether Zambia's award systems will recognize it.

Because if a record like "Olimba" cannot secure serious award consideration, then perhaps the conversation should shift from "Which songs deserve nominations?" to "What exactly are our awards rewarding?"

My Rating: 8.5/10

Jae Thee

05/05/2026

05/05/2026

We do our thing

05/05/2026

Yo Maps, ZAM, And "Budget" Music Video

The recent friction between Yo Maps, his management, and ZAM regarding the "Budget" music video is more than just a social media trend it is a landmark moment for the Zambian creative economy. As we analyze this through a critical lens, we must look past the "DRAMA" and focus on the structural evolution of our industry.

1. The Icon Pushing the Boundary
Yo Maps Yo is currently our most influential musical export. For an artist of his caliber, "PLAYING IT SAFE" is a stagnation trap. To compete on the level of BURNA BOY or Diamond Platnumz, an artist must be willing to engage with global visual languages that are often provocative and disruptive. The high production value of the "BUDGET" video signals a desire to move beyond local comfort zones. Art, at its core, is meant to challenge the status quo, and icons are often the ones who have to take the first arrows of criticism.
Remember he is AFRIMA BEST MALE ARTIST SOUTHERN AFRICA, that on its own is a lot of expectations from over 7 SADC COUNTRIES.

2. Art Does Not Exist in a Vacuum
However, every artist operates within a CULTURAL contract with their primary audience. In Zambia, music is not just a private consumption item; it is a communal experience shared in public squares, markets, and homes. The backlash from the public and the church isn't just "HATE" it is a defense mechanism for a culture that feels its values are being bypassed without a TRANSITION PERIOD. The "GAP" we are seeing is between where the artist wants to go (THE GLOBAL STAGE -KUCHALO) and where the local audience currently stands.

3. Regulation vs. Growth: The Role of ZAM
The intervention by ZAM (B Flow ) highlights a critical missing piece in our industry: Standardized Content Labeling.
The Issue here is not Directing an artist to edit or remove scenes is a form of censorship that can stifle creativity.
Instead of "editing" the art, we should be implementing professional Age Ratings (18+, TV-MA) and Viewer Discretion tags.
While a simple warning might not have fully silenced the conservative critics today, it provides a professional framework that protects the artist’s vision while giving the audience the CHOICE to opt-in or out (Just as we do with certain movies from NETFLIX OR TELEMUNDO OR CHANNEL O). This is the global standard we must adopt to avoid these "MORAL PANICS" in the future.

The escalation of this issue into personal social media battles has unfortunately overshadowed the musical merit of the track itself. As a community, we need to decide: do we want an industry that is a "MUSEUM " of past values, or a "LABORATORY" for future expression?

We should allow Yo Maps to be the visionary he is, but we must also demand better professional structures (like ratings) from our associations. Let’s stop fighting over the "MOLARITY" of a scene and start building the professional systems that allow Zambian art to be both bold and responsible.

I know some of you might have understood this better if itwas in bemba.
this is my opinion and you have the right to your own

20/01/2026

My submission Regarding

PROPOSED AMENDMENTS TO THE COPYRIGHT AND RELATED RIGHTS BILL, 2025
(CREATOR-CENTRED POSITION)

Submitted by: FACKSON CHIRWA (JAE THEE PROMOTER)

Representing: MUFASA RECORDS ENTERTAINMENTS and Independent Creators
Date: January 20, 2026

GUIDING PRINCIPLE (TO BE INSERTED IN PART I – PRELIMINARY)
Proposed New Section (After Section 2 – Interpretation)“Creator-First Principle”

In the interpretation and application of this Act, priority shall be given to the protection, dignity, economic participation, and long-term interests of creators and performers as the primary originators of copyright and related rights.

Justification: Without a guiding principle, institutions, registrars, producers, and collecting societies may dominate interpretation at the expense of creators.

OWNERSHIP & CREATOR STATUS
Amendment to Section 31 – Ownership of Copyright
Current Risk:
Ownership can be shifted away from creators through contracts, employment, or institutional arrangements.

Proposed Amendment:(1) The author or creator of a work shall be the first and primary owner of copyright.
(2) Any transfer, assignment, or licensing of copyright shall not be presumed and must be expressly agreed in writing.
(3) Where ambiguity exists, ownership shall be presumed to remain with the creator.

Justification:
This protects creators from silent or implied loss of rights.

MORAL RIGHTS – NON-WAIVABLE
Amendment to Section 25 – Moral Rights of Author
Proposed Addition: Moral rights shall be inalienable and non-waivable, regardless of any contract, assignment, or license, and shall subsist for the duration of copyright.
Justification:
Creators must always retain:
• Right to be credited
• Right to object to distortion or misuse
Even after selling economic rights.

FAIR REMUNERATION & REVERSION OF RIGHTS

New Section (After Section 32 – Duration of Copyright)
Reversion of Rights
(1) Economic rights assigned or exclusively licensed shall automatically revert to the creator after fifteen (15) years or less, unless renewed by mutual agreement.
(2) Where a work is not commercially exploited within three (3) years, rights shall revert immediately to the creator.
(3) Reversion shall occur without prejudice to moral rights.

Justification:
Prevents lifetime loss of rights through unfair early contracts, as young creators or due to desperations creatives tend to sign contract for a short period gain.

PERFORMERS’ RIGHTS & ONGOING INCOME
Amendment to Sections 35 & 36 – Economic Rights of Performer & Additional Remuneration

Proposed Clarification:
(1) Performers shall be entitled to equitable and ongoing remuneration for every form of exploitation, including digital streaming, broadcasting, public performance, and synchronization.
(2) Any contractual clause that seeks to extinguish future remuneration through a one-time payment shall be null and void.

Justification:
Protects performers from buy-out contracts.

COLLECTIVE MANAGEMENT SOCIETIES (PART VII)
(CRITICAL CREATOR SAFEGUARD SECTION)
Amendment to Section 62 – Board of Society
At least sixty percent (60%) of the Board of a Rights Management Society shall consist of active creators or performers elected by members.
Amendment to Section 69 – Distribution of Royalties
(1) Distribution rules shall be publicly available, clear, and based on actual usage.
(2) Royalties shall be distributed within defined timelines, not exceeding six (3) months.
(3) Failure to distribute royalties without lawful justification shall attract sanctions.
New Section – Transparency & Accountability
Rights Management Societies shall:
• Publish annual audited financial statements
• Disclose administrative deductions
• Allow members access to usage data

Justification:
Societies must serve creators, not replace them.

FREEDOM OF ASSOCIATION FOR CREATORS
New Section (PART VII)

Membership in a Rights Management Society shall be voluntary, and no creator shall be compelled to assign rights exclusively to any single society.

Justification:
Prevents monopolies and abuse.

LIMITATIONS & EXCEPTIONS – DIGITAL SAFEGUARDS

Amendment to Section 47 – Permitted Use
Permitted use shall not apply where such use unreasonably prejudices the legitimate economic interests of the creator, particularly in digital or commercial environments.

Justification:
Stops platforms from hiding behind exceptions.

ENFORCEMENT – CREATOR PROTECTION
Amendment to Section 81 – Infringement Enforcement actions shall prioritize commercial-scale infringement and shall not criminalize creators acting in good faith.

REGISTRAR POWERS – DUE PROCESS
Amendment to Sections 18–21 (Registration, Cancellation & Removal)
(1) Any cancellation or alteration of registration shall require:
• Written reasons
• Right to be heard
• Right of appeal
(2) Cancellation shall not extinguish underlying copyright.

Justification:
Protects creators from administrative abuse.

APPEALS & ACCESS TO JUSTICE
Amendment to Section 110 – Appeal Against Decision of Registrar

Appeals shall be affordable, time-bound, and accessible to individual creators without excessive procedural burden.

CONCLUSION: This Bill will only succeed if it empowers creators as the foundation of the creative economy.
Institutions, registrars, societies, and producers must exist to support creators not replace or overpower them.

✍️ SIGNATURES : FACKSON CHIRWA

Zambia Association of Musicians - ZAM
B Flow
Emmanuel The Kingmaker
Kb Killa Beats
National Arts Council of Zambia

12/01/2026

Triumphs at AFRIMA 2026, Beats 10 Contenders to Win Best Male Artiste – Southern Africa

Zambian music sensation Yo Maps has made history at the 9th All Africa Music Awards (AFRIMA), winning Best Male Artiste in Southern Africa, surpassing a strong field of 10 nominees from across the region. His victory underscores his rising continntal impact and marks a proud moment for Zamsic on the African stage. 

In the Best Male Artiste – Southern Africa category, Yo Maps competed against the following talented artists:
• (Mozambique)
• (Zimbabwe)
• (Eswatini)
• (South Africa)
• (Malawi)
• (South Africa)
• (South Africa)
• Zeze Kingston (Malawi)
• Kazba De Small (South Africa)
• Yo Maps (Zambia) – Winner 🏆 

This win not only highlights Yo Maps’ musical excellence but also celebrates Zambia’s growing influence in the broader African music industry. 

09/01/2026

👍Likes don’t pay the bills. Sales do. 💸

Let’s be honest: A million followers mean nothing if your sales team is struggling to find leads.

Social media should be the ultimate support system for your Sales and PR strategy. It’s the first place people go to verify your brand’s credibility. If your social presence doesn’t scream “Trust,” you’re losing customers before they even reach your website.

As a Digital Marketer, I specialize in building “Trust-First” social systems that:
✅ Warm up cold leads for your sales team.
✅ Bridge the gap between PR announcements and public perception.
✅ Build long-term customer loyalty through strategic engagement.
Stop treating social media as an afterthought. Start treating it as your most powerful marketing tool.

📩 DM me for a social media audit today.

+260770109747 || [email protected]






Ministry of Youth, Sport and Arts

08/01/2026

Frequency is not a strategy. ROI is. 📈

I see it every day: Brands and creators posting 7 days a week, yet their engagement is stagnant and their conversion rates are near zero.

As a Digital Marketer, I’ve learned that the “post and pray” method is the fastest way to burn your marketing budget. Consistency without strategy is just noise.
Real growth the kind that impacts your bottom line requires three things:

1. Clear Objectives: Stop posting “to stay active” and start posting to achieve specific KPIs.

2. Precision Targeting: Speaking to the 1% who will actually buy, rather than the 99% who just scroll.

3. Data Analytics: If you aren’t tracking your performance, you aren’t marketing; you’re guessing.

I help businesses cut through the noise by building data-backed digital strategies that prioritize quality over volume.
Ready to stop “posting” and start growing? Let’s talk strategy.

📩 DM me or reach out at +260770109747.

06/01/2026

🚀HOW I GENERATED 3.3 MILLIONS REACH IN LESS THAN 60 DAYS 🚀

Most brands think “going viral” is a game of luck. It isn’t. It’s a game of strategy, data, and precise ex*****on.

I recently had the privilege of managing the social media for the Ngoma Awards 2025, and the results speak for themselves:

📈 The Impact:
• 3.3M+ Online Reach achieved in under 60 days.

• 7M+ Total Viewers across all digital touchpoints.

• Sold-Out Attendance: We filled the CIELA RESORTS AUDITORIUM to capacity.

🔥 The “Social Media Effect”:

Data shows that 75% of the 2,500+ attendees were driven directly by our social media campaigns. Through a calculated mix of organic storytelling and high-converting paid ads, we didn’t just “post”we built a movement that converted browsers into ticket holders.

What I brought to the table:

✅ A custom strategy tailored for the Zambian creative industry.
✅ Performance-driven paid campaigns that maximized ROI.
✅ Engaging organic content that kept the conversation alive for 2 months straight.

If your brand or event is looking for more than just “likes” if you’re looking for reach, revenue, and real-world results let’s talk.

I am currently open for new partnerships for 2026.

📩 DM me or call +260770109747 to see how we can scale your digital presence.

FacksonChirwa